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and the kore dedicated by
Euthydikos. The face has a wide and uniform appearance, the mouth approaches the form taken by the Kore of Euthydikos and the hair is treated in a simple style. The Attic sculptors began to abandon the complex surface decoration which was used in the earlier period. A new
330:
At the beginning of the 5th century the practice of offering korai as votives began to decline and there are only a few figures from the site which belong to this period. The Peplos Kore exhibits some aspects that point to the statue having
Hellenistic origins. As the statue's outfit is notably
270:
is unique in its body structure: a long, thick neck and sloping shoulders contrast with head which is a little heavy. The facial expression is underlined by a new understatement in details of the hairstyle and clothing. The modelling of the face anticipates, at the turn of the century, the
58:
for almost a century, from 570 to 480 BC. This demonstrates in particular the beginning and development of Ionian influence on
Athenian art of the second half of the 6th century BC. This was the period when Ionian elements first appear in the architectural works of the
129:
costume with the Ionian one caused a change in the whole formal system. The hand that held out the offering is detached from the bust to extend forwards, while the arm at her side gathers her skirts, after the model seen in Ionian female figures, like the
373:
way of thinking replaced the old and many of the forms characteristic of this new style seem to come from
Peloponnesian bronzes, just as the Euthydikos Kore, through the Blonde Ephebe, seems stylistically similar to the Apollo of the pediment of the
188:
The last thirty years of the 6th century are characterised by great attention to the shaping of the face and to the decoration of surfaces, especially visible in the treatment of hair and clothes. An example of this is
232:
has been doubted, but it was in any case the work of a master: the treatment of the clothes with deep vertical grooves, alternating with horizontal markings is not found on any of the other figures from the
Acropolis.
324:
283:, which has a similar structure but has an unusual pose: both hands were extended with offering and as a result her clothing is not gathered up and falls vertically, following the line of her body.
118:, dating to the middle of the century, represents the first example of Ionian influence on Attic sculpture, as well as the first use of typical Ionian costume in Attica. In the same category is
228:) could be considered an interpretation of this theme by its creator. The connection of the statue with the inscribed base which identifies the creator of the statue as the Athenian sculptor
217:
manages to do. In this figure there is a particular correspondence between the size of the clothing and the body which does not nullify the complexity of the surface design, however.
315:
with a belt at the waist which creates a large overhang with the fabric above it, a fashion which corresponds to an old Ionian motif but is unusual in this period. The head
887:
165:
are marked, as in all later korai. From this kore onwards, the Ionian costume assumes a standardised form based on the depth and looseness of the drapery of the
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544:
320:
627:
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seems to Payne to be a transitional figure; the kore has a body structure close to the older model, but the eyes have been reduced in size and the
71:
developed. Towards the end of the 6th century BC this influence is seen to be overcome, or rather absorbed, and a new style is born, the so-called
1043:
1038:
292:
1122:
637:
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theorize that the sculpture's missing arm could have been carrying a bow which is often associated with the Greek deity
Artemis. The oldest is
837:
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537:
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does not considerthe combination of old and new elements sufficient justification for a higher dating and places this kore, like
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worn over the himation, overcomes the dualism between drapery and the form below, as only the creator of the
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is one of the masterpieces of Attic sculpture, one of the very few female heads which equal the
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attributes these korai to a single master whose stylistic fingerprint she also sees in the
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The juxtaposition of the Attic korai of the 530s BC with the Leda on the amphora of
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in the last quarter of the nineteenth century, all of the same typology and clear
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function. Through them it is possible to trace the stylistic evolution of
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in 1940, it has been considered the work of a
Peloponnesian artist.
347:. Because of its similarity to a terracotta head of Athena found at
297:
111:
107:
106:
which date from the first half of the 6th century and derive from
98:
Among the most ancient korai found on the
Athenian acropolis, are
86:
64:
18:
526:
437:
Catalogue of the
Acropolis Museum : 1. Archaic sculpture
16:
Group of statues discovered in the
Acropolis of Athens
1052:
1016:
905:
870:
761:
655:
560:
169:and on the playful representation of the material.
153:is common. This group includes the Peplos Kore and
142:), around 10 or 15 years after the Kore of Lyons.
423:Charbonneaux, Martin, Villard (1978) pp. 278-279.
134:. The change was introduced some time before the
331:different from the rest of the Acropolis Korai,
279:sculpture. The "Archaic smile" disappears with
888:Museum of the Center for the Acropolis Studies
439:, Cambridge, Cambridge University Press, 1912.
538:
8:
311:also has an unusual form, dressed only in a
765:
545:
531:
523:
461:La scultura arcaica in marmo dell'Acropoli
353:
179:
481:. Grecia, Torino, UTET Libreria, 1986,
463:, Roma, L'Erma di Bretschneider, 1981,
451:La Grecia arcaica : (620-480 a.C.)
389:
333:Dr. Steven Zucker and Dr. Beth Harris
271:simplification which is found in the
7:
1128:Archaeological discoveries in Attica
209:, datable to the 510s BC, with the
1044:Siege of the Acropolis (1826–1827)
1039:Siege of the Acropolis (1821–1822)
14:
453:, Milano, Rizzoli, 1978. no ISBN.
1024:Achaemenid destruction of Athens
938:Korai of the Acropolis of Athens
646:
509:
495:
414:Bianchi Bandinelli (1986) p.305.
405:Bianchi Bandinelli (1986) p.304.
396:Bianchi Bandinelli (1986), p.301
252:
240:
36:Korai of the Acropolis of Athens
1093:5th-century BC Greek sculptures
1088:6th-century BC Greek sculptures
838:Louis-François-Sébastien Fauvel
618:Choragic Monument of Thrasyllos
608:Theatre of Dionysus Eleuthereus
38:are a group of female statues (
743:Church of Panagia Atheniotissa
683:Sanctuary of Artemis Brauronia
479:L'arte dell'antichitĂ classica
63:and close connections between
1:
1123:Sculptures of women in Greece
1034:Siege of the Acropolis (1687)
193:, which is comparable to the
343:, but is even closer to the
1103:Marble sculptures in Greece
748:Temple of Roma and Augustus
733:Choragic Monument of Nikias
475:Ranuccio Bianchi Bandinelli
285:Ranuccio Bianchi Bandinelli
177:at the end of the century.
29:Museum of Fine Arts of Lyon
1144:
933:Pediments of the Parthenon
823:Giovanni Battista Lusieri
768:
718:Sanctuary of Zeus Polieus
644:
928:Metopes of the Parthenon
588:Odeon of Herodes Atticus
151:Museo Gregoriano Etrusco
114:respectively, while the
1029:Sack of Athens (267 AD)
201:, as well as the head,
184:Acr. 594, c. 520–510 BC
125:The replacement of the
56:Archaic Attic sculpture
978:Nike Fixing her Sandal
703:Altar of Athena Polias
603:Sanctuary of Asclepius
459:, Paolo Enrico Arias,
361:
303:
302:Acr. 670, c.520–500 BC
247:Acr. 674, c.500–490 BC
185:
95:
31:
583:Temple of Athena Nike
503:ancient Greece portal
368:seems to belong with
357:
301:
259:Acr.685, c.500-490 BC
183:
90:
42:), discovered in the
22:
1108:Sculptures in Athens
998:Athena Marsyas Group
883:Old Acropolis Museum
853:Panagiotis Kavvadias
828:Reverend Philip Hunt
713:Sanctuary of Pandion
678:Old Temple of Athena
449:; François Villard,
1008:Three-Bodied Daemon
1003:Nike of Callimachus
593:Pedestal of Agrippa
554:Acropolis of Athens
477:, Enrico Paribeni,
48:Acropolis of Athens
813:Francesco Morosini
362:
345:Kore of Euthydikos
304:
289:Kore of Euthydikos
273:Kore of Euthydikos
215:Kore of Euthydikos
186:
163:Nasolacrimal ducts
96:
75:, with increasing
32:
1118:Statues in Greece
1075:
1074:
866:
865:
848:Kyriakos Pittakis
723:Odeon of Pericles
656:Former structures
561:Extant structures
443:Jean Charbonneaux
199:Siphnian Treasury
132:Group of Geneleos
1135:
1098:Acropolis Museum
1053:Related articles
923:Athena Promachos
918:Parthenon Frieze
913:Athena Parthenos
878:Acropolis Museum
858:Nikolaos Balanos
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753:Parthenon mosque
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988:Procne and Itys
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948:Euthydikos Kore
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447:Roland Martin
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435:Guy Dickins,
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370:Acropolis 684
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366:Acropolis 696
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341:Acropolis 674
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337:Acropolis 684
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317:Acropolis 643
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308:Acropolis 670
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281:Acropolis 685
278:
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268:Acropolis 674
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226:Acropolis 681
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207:Acropolis 594
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203:Acropolis 660
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175:Acropolis 678
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159:Acropolis 669
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155:Acropolis 678
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140:Acropolis 679
137:
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120:Acropolis 593
117:
116:Kore of Lyons
113:
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104:Acropolis 677
101:
100:Acropolis 619
93:
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82:
80:
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77:Peloponnesian
74:
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62:
61:Peisistratids
57:
53:
49:
45:
41:
37:
30:
26:
25:Kore of Lyons
21:
1061:Perserschutt
1059:
968:Moschophoros
943:Antenor Kore
937:
773:Themistocles
668:Hekatompedon
478:
460:
457:Humfry Payne
450:
436:
430:Bibliography
419:
410:
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369:
365:
363:
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340:
336:
329:
316:
307:
305:
293:Blond Ephebe
288:
280:
272:
267:
265:
225:
222:Antenor Kore
219:
210:
206:
202:
190:
187:
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144:
139:
124:
119:
103:
99:
97:
73:Severe style
44:Perserschutt
35:
33:
963:Peplos Kore
953:Kritios Boy
843:Ludwig Ross
793:Callicrates
698:Arrephorion
693:Pandroseion
688:Chalkotheke
573:Erechtheion
136:Peplos Kore
94:, c. 530 BC
92:Peplos Kore
83:Description
79:influence.
1082:Categories
818:Lord Elgin
708:Eleusinion
623:Beulé Gate
613:Aglaureion
517:art portal
385:References
321:Rayet Head
906:Sculpture
808:Mardonius
798:Mnesikles
738:Klepsydra
633:Peripatos
578:Propylaia
568:Parthenon
277:Classical
266:The kore
195:caryatids
958:Kore 670
803:Xerxes I
778:Pericles
323:and the
291:and the
211:epiblema
167:himation
895:at the
871:Museums
788:Ictinus
783:Phidias
379:Olympia
349:Olympia
275:and in
230:Antenor
197:of the
149:in the
147:Exekias
46:of the
27:in the
1017:Events
762:People
485:
467:
313:chiton
127:Dorian
69:Athens
52:votive
1113:Korai
1067:Moria
112:Naxos
108:Samos
65:Ionia
40:Korai
483:ISBN
465:ISBN
220:The
110:and
102:and
67:and
34:The
23:The
377:at
1084::
489:..
445:,
381:.
327:.
295:.
205:.
122:.
546:e
539:t
532:v
471:.
224:(
138:(
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